Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including well-documented struggles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he states.

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of defying expectations.

How would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."